The Six Sonatas, Op. 3, have rather a curious dedication: _Alla Ragazza Eleonora_. "Ragazza" is a familiar term for a girl, and may be translated as "lass," or even "wench." The Eleonora it may be impossible now to identify, though the lady possibly was connected with the period of Paganini's disappearance when Napoleon invaded Italy. Sonata, No. 1, is in two movements, as are all the others. The first, Larghetto, A major, six-eight measure, has a theme resembling a popular melody, the close of each strain being highly embellished. Ricordi's edition gives an alternative reading of the penultimate bar, in the style of a cadenza. The second movement, Presto variato, in two-four rhythm, has a dance-like theme, with one variation. The two bars preceding the final cadence have semiquaver groups to be played pizzicato, each note with right and left hand alternately. No. 2, Adagio, con dolcezza, G major, three-eight, theme, pure Italian cantilena, in thirds or sixths throughout. Andantino scherzoso, two-four, crisp, tripping melody, chiefly for staccato bowing, ending with arpeggios extending to four octaves. No. 3, Andante sostenuto, D major, two-four, theme for six bars to be played on the second string. Rondo, Molto allegro, six-eight, bright and spirited; the opening might have been inspired by the Irish air "Garyone"--the lilt is so much the same. The movement ends with a rapid descending chromatic scale of three octaves. No. 4, Andante largo, A minor, two-two, the opening bars of the theme for the third string, declamatory, sad. Allegretto mottegiando, two-four, light, tripping melody, to be delivered in a spirit of banter. No. 5, Adagio amorosa, A major, two-four, theme, Italian melody embellished, in thirds throughout, with some semi-staccato bowing. Allegretto energicamente, two-four, a merry, quick-step movement of two eight-bar periods. The second part, in the tonic minor, has the theme divided equally for guitar and violin, in each strain. A coda of four bars, major, is added by way of close. In the arrangement for pianoforte, the violin has the theme throughout. No. 6, Andante innocentemente, E minor, four-four, a pathetic melody, simple, but touching. Allegro vivo e spiritoso, six-eight. One could imagine an Italian peasant singing this melody; it has all the characteristics of a folk-song. It is written throughout in double-notes, mostly thirds. The second part, in the minor, is in a different manner to the first part, which is repeated after it. The guitar accompaniments, with the exception named, are all in chords or arpeggios. The pianoforte part has more variety. It may be observed that the movements in two-four measure have much of the spirit of Haydn's Allegros. Op. 4, Three Quartets for violin, viola, violoncello and guitar. These were once in the Circulating Music Libraries of the firms of Novello and Augener, but are no longer to be met with. I have failed to obtain copies elsewhere.